00:05Per questo film, abbiamo chiesto di sviluppare la storia e ovviamente show offre la action,
00:11ma nonostante, abbiamo chiesto offre l'ensembleo casto di NPC.
00:15Abbiamo un fenomeno casto, credo che hanno portato un'autenticità e reale realità
00:21per le caratteristiche, per te mette.
00:32Un'altra parte del progetto è la casta di actors che abbiamo iniziato con gli NPC,
00:37che capta il balance tra l'opportunità e l'opportunità e l'opportunità in un'aliena.
00:42Il più le caratteristiche, il più il senso di credo e il risultato cresce,
00:47e la frizzazione tra le crew aumenta, e possiamo vedere che hanno sbagliato in diverse mani.
00:52I need to know that I just made the right decision.
00:55It's me, boss.
00:56Wait, how long?
00:58Since the last time the son died, mate.
01:01I mean, Rahul, man.
01:03He's cool.
01:04I like working with him.
01:05The way that he's acting for Arjun is just fantastic.
01:09Arjun goes on quite an arc in the game,
01:11so it's really exciting to see him, like,
01:14dedicating himself and really losing himself in the role
01:16to really make sure we have the best story for players
01:19and the best character for them to examine.
01:21I need to know that I just made the right decision.
01:23Really excited for everyone to see that Jane Perry is back.
01:26She plays Sheridan Bouchard,
01:28who's essentially the commander of the Echelon 4.
01:31And as you can see, she does not muck around.
01:33She means business.
01:34It's very, very important to build relationships with actors
01:39that you can really trust to bring the performance to the screen.
01:42And it's awesome that we're able to foster those relationships
01:46and keep having them in our games
01:48because they bring so much.
01:51to the experience and they give their own spin
01:54to the characters that we make.
01:57So, yeah, having Jane back, hell yeah.
01:59It's so cool to be able to work with Jane Perry again
02:02in such a different role.
02:04Seeing her face across from Raul Coley is, I don't know,
02:09I'm a fan of these people, you know,
02:11so being able to work with them,
02:13it's something really special.
02:15There's no way to get home and you...
02:17Life!
02:19This is what it does.
02:21It gets in our heads and it twists...
02:23That cinematic is one of the first things that was shot.
02:25And seeing how our directors, Greg and Brandon, on set worked with them,
02:33it was a revelating moment for me personally,
02:37like as a game developer and what we can achieve nowadays in storytelling.
02:43you know, there's this fine line that we have to walk with cinematics to gameplay,
02:50but the type of stories that we're able to tell now at Housemarque
02:52with the talent that we have here and the capabilities,
02:56I mean, we're just going to the next level now.
02:58But here we are kind of doing for the first time like cinematics with characters in your face.
03:06Like we are not scared of just bringing the camera really close to them.
03:09We know where we are headed.
03:10We know what our character in the game needs to do, how it needs to move.
03:15This subtleties is very, it's very, very difficult to animate a human face.
03:20It's, in my experience, by far the most challenging thing,
03:23because if you fail at just not moving a few muscles here or there,
03:29instead of a happy face, it can be, I don't know, an angry face or a smirk face,
03:35instead of, I don't know, something more gentle.
03:38There's the three phases of the game, the game in your mind,
03:41the game on paper, and then the game in software,
03:45and the iterations of that that players finally get to see in the finished product.
03:48And when these scenes were just words on paper, you know,
03:51it was a hope that they would look great and they look amazing.
03:54So it's really gratifying to watch these videos
03:58and see what was achieved by the team in our cinematics.
